Analysis of the role of predicted RNA secondary structures in Ebola virus replication

AbstractThermodynamic modeling of Ebola viral RNA predicts the formation of RNA stem-loop structures at the 3′ and 5′ termini and panhandle structures between the termini of the genomic (or antigenomic) RNAs. Sequence analysis showed a high degree of identity among Ebola Zaire, Sudan, Reston, and Cote d’Ivoire subtype viruses in their 3′ and 5′ termini (18 nucleotides in length) and within a second region (internal by approximately 20 nucleotides). While base pairing of the two conserved regions could lead to the formation of the base of the putative stem-loop or panhandle structures, the intervening sequence variation altered the predictions for the rest of the structures. Using an in vivo minigenome replication system, we engineered mutations designed to disrupt potential base pairing in the viral RNA termini. Analysis of these variants by screening for enhanced green fluorescent protein reporter expression and by quantitation of minigenomic RNA levels demonstrated that the upper portions of the putative panhandle and 3′ genomic structures can be destabilized without affecting virus replication

Géricault, o Panorama e os Espaços de Realidade no início do Século XIX

Lançando mão de diferentes obras artísticas, Jonathan Crary discute a formação do espectador moderno no final do século XVIII. O participante multifacetado das feiras da Europa pré-moderna é substituído por um observador privatizado e individualizado, destinado ao consumo de mercador- ias em massa e produto de um processo de disciplinarização. A primazia da visão sobre os demais sentidos emerge acompanhada de imperativos de autocontrole visíveis em novos espaços como os dispositivos panorâmicos que o autor explora no artigo. Dialogando com Roland Barthes, Crary dis- corre sobre os “efeitos de realidade” em jogo nos panoramas e seus impactos na audiência moderna.

Daydream archive

Felicity Callard’s interest in the long history of research into daydreaming, fantasy and reverie, and the ways in which this subterranean tradition might productively complicate contemporary cognitive scientific investigations of mind wandering, has been a significant focus of her work for Hubbub. In this chapter, she conjures up an imaginary archive of the daydream, as yet dispersed across disciplinary fields and points in time and space, alludes to some of its heterogeneous contents, and asks what the power of such an archive-to-come might be

We Have Always Been Virtual: Gilles Deleuze and the Computer-Generated Image

The use of computer-generated imagery is becoming increasingly ubiquitous across many fields including media, advertising, architecture and art. This represents a fundamental shift within visual culture, as imagery can now be produced routinely by means of rendering algorithms based on spatial representations. We propose that the account of the image provided by Gilles Deleuze in his books on cinema provides a rich philosophical framework for understanding such contemporary imaging practices. By providing a Deleuzian reading of James Kajiya\u27s 1986 rendering equation we argue that there is a tacit ontology of the image underwriting both Deleuze’s work on cinema and current computer graphics technologies. This ontology frees the image from traditional transcendent categories of subject positions or vantage points and instead revolves around the concept of an immanent image. We argue that these considerations lead us to a reformulation of the notion of the virtual, one that challenges its rigid segregation from the real

Archive of Darkness:William Kentridge's Black Box/Chambre Noire

Situating itself in histories of cinema and installation art, William Kentridge's Black Box/Chambre Noire (2005) raises questions about screens, exhibition space, site-specificity and spectatorship. Through his timely intervention in a debate on Germany’s colonial past, Kentridge’s postcolonial art has contributed to the recognition and remembrance of a forgotten, colonial genocide. This article argues that, by transposing his signature technique of drawings for projection onto a new set of media, Kentridge explores how and what we can know through cinematic projection in the white cube. In particular, his metaphor of the illuminated shadow enables him to animate archival fragments as shadows and silhouettes. By creating a multi-directional archive, Black Box enables an affective engagement with the spectres of colonialism and provides a forum for the calibration of moral questions around reparation, reconciliation and forgiveness

Making science at home: visual displays of space science and nuclear physics at the Science Museum and on television in postwar Britain

The public presentation of science and technology in postwar Britain remains a field open to exploration. Current scholarship on the topic is growing but still tends to concentrate on the written word, thus making theorizing, at this stage, difficult. This paper is an attempt to expand the literature through two case studies that compare and synthesize displays of scientific and technological knowledge in two visual media, the Science Museum and television, in the 1950s and 1960s. The topics of these case studies are space exploration and nuclear energy. The thesis this paper explores is that both media fleshed out strategies of displays based on the use of categories from everyday life. As a result, outcomes of large-scale public scientific and technological undertakings were interwoven within audiences’ daily life experiences, thus appearing ordinary rather than extraordinary. This use of symbols and values drawn from private life worked to alleviate fears of risk associated with these new fields of technological exploration and at the same time give them widespread currency in the public sphere

Space, time, desire, and the Atlantic in three Spanish films of the 1920s

This article looks at the relationship between Hollywood and Spanish cinema of the 1920s. The central issue is the impact on the representation of space and time, both of Hollywood film structures, and of the elision between 'Spanish' and 'North American' space. The problem of boundaries and elision between these two spaces hinges on the definition of sexual and gender roles

A communal catalogue reveals Earth’s multiscale microbial diversity

Our growing awareness of the microbial world’s importance and diversity contrasts starkly with our limited understanding of its fundamental structure. Despite recent advances in DNA sequencing, a lack of standardized protocols and common analytical frameworks impedes comparisons among studies, hindering the development of global inferences about microbial life on Earth. Here we present a meta-analysis of microbial community samples collected by hundreds of researchers for the Earth Microbiome Project. Coordinated protocols and new analytical methods, particularly the use of exact sequences instead of clustered operational taxonomic units, enable bacterial and archaeal ribosomal RNA gene sequences to be followed across multiple studies and allow us to explore patterns of diversity at an unprecedented scale. The result is both a reference database giving global context to DNA sequence data and a framework for incorporating data from future studies, fostering increasingly complete characterization of Earth’s microbial diversity

Wittgenstein’s <i>On Certainty</i> as pyrrhonism in action

I want to suggest a way of approaching On Certainty that treats what Wittgenstein is doing in the notebooks that make up this work as manifesting a kind philosophical practice that is broadly Pyrrhonian, at least on one reading of what this involves. Such a reading fits with the general philosophical quietism found in Wittgenstein’s work, particularly in his later writings, and is also supported by independent textual evidence that he was profoundly influenced by Pyrrhonian scepticism. Crucially, however, it also helps to clarify the sense in which the Pyrrhonian sceptical techniques, and hence (I claim) the kind of philosophical quietism that goes along with them, can have an essentially disquieting effect on the subject (which in the sceptical case I dub epistemic vertigo)